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Repress!

For number 93 in the Brazil45 series, we present two favourites from the Harmony Cats. A female vocal quintet (who later became a trio) from São Paulo. They formed in 1976 and were most prolific in the disco period.

'Harmony Cats' Theme' from 1976 is probably the group best known track outside of Brazil. Owing a lot to Rhythm Heritage's version of 'Barretta's Theme (Keep Your Eye On The Sparrow)’ it's wonderfully spacey breakbeat and percussive production with lush, floaty vocals makes it a real crossover classic record.

'Seja Como Nos (De Pe No Chao)' is instantly recognisable. Tucked away on the b-side of their 1979 single 'Tem Dinheiro Nisso' on Young Records, it is a beast of a cover version of The Jacksons' classic ' Shake Your Body (Down To The Ground)'. Nothing subtle or sophisticated here. Just a song of pure disco joy, enhanced with awesome Brazilian production and the Cats' trademark vocal arrangements. A get-of-jail-free card for any DJ that finds themselves stuck with an empty dance-floor, but also one that will put smiles on the faces of the more discerning leftfield club crowds.

- Next installment in BRAZIL45 Series.
- Features cover of The Jacksons ‘Shake Your Body (Down To The Ground)’.
- 2 tracks of pure disco joy.

Soundway Records presents a collection of Nigerian music chronicling a time when drum machines, synthesisers, imported pop, reggae, disco and soul collided with highlife, juju and cultural music. The late 70s saw a period of political turbulence and prompted change across the country. Following suit, musicians and producers entered a period of experimentation, adaptation, modification and innovation, using new technology to renew and refresh cultural traditions.

Nigerians formed their own unique approach to the limitless creativity these new instruments offered, to reveal a distinct sound which would dominate local airwaves for the decade to come. Nigeria Special Volume 3 celebrates the rich diversity of culture and musical styles of the nation, showcasing eighteen tracks across various genres which laid foundations for the innovation of Afrobeats artists of today. Triple Vinyl gatefold LP compiled by Miles Cleret and Jeremy Spellacey, includes a large 8 page booklet with detailed liner notes, record scans and never-seen-before photos.

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

Space Drum Meditation unveils Four Tusks, their debut album and seventh re- lease on the label. This 12-track journey blends tribal rhythms, atmospheric textures, and electronic elements, interweaving darkness and light. The album unfolds like a ritual, revealing a murky, immersive soundscape shaped by primal beats, ethereal ambience, rumbling thunder, and the whisper of rain, reminiscent of a primeval marshland and drawing one into its depths. Featuring a wide array of instruments – including deep percussion, traditional flutes, throat singing, and field recordings – Four Tusks crafts a mysterious tapestry that feels both ancient and futuristic, resonating with nature's elements.

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

Mood Child is back with 'Various Moods Vol. 3', a captivating collection of six tunes, each possessing its own distinct mood and power.

Led by founders Manda Moor and Sirus Hood, this superb album features standout contributions from label favorites Reboot and Marian (BR), while also shining a spotlight on fresh talent, including Crewcutz, Band&Dos, Sterium, Samarone, and Drewski.

Available now on both vinyl and digital formats, *
'Various Moods Vol. 3' continues Mood Child's tradition of delivering innovative, boundary-pushing music.

On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.

Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.

In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.

In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.

Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.

But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.

Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.

Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn.

Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company.

Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions.

‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond.

Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."

Sleeve art by Michael Willis.

(incl 40p fanzine written by Matt Annis with photographs by Simon Pyke and Ian Brodie) Postpunk Theory is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo and more.



Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.

At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.

Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.

Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.

The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.

Bogotá-based Colombian composer Eblis Álvarez, known as Meridian Brothers, has been concocting a unique blend of psychedelic sounds since 1998. With his latest project, "Mi Latinoamérica Sufre," Álvarez explores the untapped potential of the electric guitar in a tropical Latin context. Drawing inspiration from African highlife and soukous traditions, Álvarez crafts a fearless sonic experiment infused with invention, playfulness, and emotion. Unlike typical tropical guitar records, this album eschews distortion and clichés, opting for a pure, clean approach. Through intricate compositions blending cumbia, champeta, soukous, Brazilian tropicalia, and underground psychedelic rock, Álvarez pays homage to the golden era of Congolese rumba, Ghanaian highlife, and Nigerian afrobeat.

"Mi Latinoamérica Sufre" delves into the ego trip, presenting a humorous yet introspective journey of self-discovery and identity. The central character, Junior Maximiliano the Third, navigates through the complexities of self-discovery using psychedelic substances, political philosophy, and folklore. As he grapples with nostalgia, paranoia, and shared suffering, Álvarez showcases his vocal prowess, creating a sonic theater of the mind. Accompanied by visual narratives from Colombian artist Mateo Rivano, the album portrays various psychological states of disorientation, self-pity, enlightenment, and optimism. "Mi Latinoamérica Sufre" emerges as a worthy and innovative addition to the concept album tradition, offering a distinctive blend of bitter-sweet flavors inspired by Latinoamérica.

“Artifact” by Novo Line makes a departure from his Atari ST fueled FM synth journeys, here reimagining the soundtrack of our collective memory. Born from a live performance at a listening festival in Berlin by the Camp Cosmic crew, this LP transforms universally recognized pop anthems, beckoning listeners into a kaleidoscopic realm of sound, where familiar melodies fracture and our brains attempt to reconstitute them.

Using era-consistent equipment – turntable, 12″ maxi singles, classic samplers, and iconic drum machines – Novo Line deconstructs and reassembles songs etched into our cultural DNA. From the soaring emotions of “I’ve Had the Time of My Life” to the disco beat of “Heart of Glass,” these are melodies that have scored countless lives, now reborn in startling new forms.

Recorded live to tape, ‘Artifact’ doesn’t just play; it unfolds like an auditory hallucination. It taps into the deep emotional reservoirs these songs have built over decades, twisting familiar refrains into new shapes. One festival goer recollected that it uncovered “the dark inner universe of Kenny G, suddenly splayed out into a whole new cosmos.”

As the needle traces its path, ‘Artifact’ peels back layers of shared musical experience. It’s an aural alchemy that transmutes the known into the profoundly strange, yet achingly familiar. Listeners may find themselves adrift in a sea of frequencies, where every warped note triggers a cascade of personal and collective memories.

Rooted in the “copyriot” tradition of 1980s punk and industrial scenes, “Artifact” challenges notions of authorship while celebrating the universal language of pop. It doesn’t merely suggest a trip – it becomes a journey through the very fabric of our shared musical consciousness.

Mastered by Rude66, cut by Helmet Erler, and pressed at Objects Manufacturing.

Y’KNOW returns to Spiritual World on October 4th with Why Now, an 8 track 12” that is so stacked with groove that you can physically feel the claps when you run your hand over the record.

Why Now lifts the fog established on the duo’s digital 2023 two-song debut, pushing their signature beat forward minimalism into digital dancefloor soundscapes. Following in the tradition of dub records, Why Now features four vocal cuts on the a-side backed with four reimagined and stripped back dub versions on the b side.

Lyrically, Bally takes on the narrative of a detective in search of the perfect groove, even if it ultimately leads to their own fictional demise. Y’KNOW is clearly in pursuit of the perfect vibe, and while doing so exceeds the imagination of most traditional guitar-based bands with a mesmerizing mix of dub, post-punk and synth pop.

Limited to 200 12” copies.
RIYL: Colour Box, Maximum Joy, Tom Tom Club, George Clinton & Brenda Ray

Exploration, collaboration and curiosity define the rhythm at the beating heart of Mehmet Aslan’s exemplary compositions. The Swiss-born producer of Turkish heritage has already forged a singular path through production, DJing and full-band performances, navigating the more esoteric corners of Berlin’s club culture without sacrificing his musical heritage or innate creativity.

A conceptual new LP ‘Auguri’ follows on from 2021’s gnomic, ornate ‘The Sun Is Parallel’, which saw Aslan musically associate with the likes of Valentina Magaletti and Niño De Elche. ‘Auguri’ also has its foundations in collaboration, born out of a musical lab at Lyon’s annual
Nuits Sonores, the forward-thinking festival with whom Aslan has maintained a lengthy creative relationship.

The resulting audio-visual performance, ‘Bird Signals For Earthly Survival’ introduced Aslan, to the Greek filmmaker Stratis Vogiatzis. Drawing on the philosophy of Donna Haraway and envisioning new ways of being, of living on earth, Aslan and Vogiatzis crane their necks to the sky to witness flocks of birds performing spectacular movements in unison. Fluid and ancient, their organic waltz provides inspiration for Aslan’s extension of the project, spanning sonic shades of electro, ambient and modern folk psychedelia.

On the coastline of Vogiatzis’s home country of Greece, as in many places across the world, climate change threatens to effect the ancient migration pattern of millions of birds, just as their fellow beings on terra firma become increasingly entangled in a man-made disaster of their own creation. In unison, ‘Auguri’ is adorned by artwork from designer Xavi Bou. Known for his ‘ornithographies’, this striking visual captures avian life not only as a force, but a wry observer.

“We need to transform our connections with other living beings to protect the Earth and live together harmoniously”, reflects Aslan. “Personally, this project has made me more sensitive to this issue. I wanted to give back in return for the inspiration I've received."

Perhaps upending expectations of a more traditional ‘ambient’ album, Aslan commits some of his finest compositional work and understated songwriting to this urgent imperative, creating original music that nonetheless, has nature flowing through it. ‘Critters’ presents a spectral sound collage on which Aslan himself speaks from the texts composed at the residency, conjuring visions of “the birds flying… shape of the future”. Meanwhile, the undulating, psychedelic ‘Pigeon Blinks’ takes inspiration from more domestic scenes, charting the unexpected roosting and hatching of an egg on a kitchen window, while ‘Auguri’ gives the album it’s title in connecting to a higher plain, demonstrating Aslan’s ability to lure melody and catharsis from looping hypnosis.

Opener ‘Spectra’ provides a forceful, almost industrial breakbeat that establishes the exigency of the album as well as its sense of wonder, while ‘Euphoria’ reaches the potency of its promise slowly, with Aslan’s modular melodies meeting the flourishing percussion of guest player and multi-instrumentalist, POPP. Finally, ‘Aura’ delivers a cinematic conclusion, mixing an elegiac organ motif, haunting guitar chords and the prophetic sense of a scorched earth. Here, with patience and soaring production, Aslan once more makes the abstract and the unthinkable somehow tangible, mixing in sampled birdsong.

Accordingly, ‘Auguri’ is being released in accordance with EarthPercent, the music industry’s climate foundation, co-founded by Brian Eno. A portion of the album’s publishing will be credited as part of ‘The Earth As Your Co-Writer’ initiative, allowing artists to directly credit The Earth in their new compositions. Here, streaming and publishing from Aslan’s recorded sounds are automatically paid back to a number of vital initiatives worldwide.

Leaning into some of the most vital questions and anxieties of our time, ‘Auguri’ is not a project without a sense of hope. From studio to sea, Mehmet Aslan continues to look to the skies and beyond.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
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POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on Toolroom’s next 4-track vinyl sampler series is Mark Knight’s hugely successful rework of Groove Armada’s seminal classic ‘Get Down’. Considered one of the holy-grail records of their back catalogue so it’s an absolute honour for us, and Mark Knight, to be re-presenting this incredible record to a new audience. Fusing those unique vocals from Stush and classic Groove Armada synth line, coupled with the energy and insatiable groove of a Mark Knight record, this is a sure-fire dance floor weapon for 2024! Next up are a fan favourite of the label, the mighty duo Illyus & Barrientos who make their long overdue return with ‘When You Gonna’. Tracks such as ‘Shout’, ‘Promise’ and most famously, ‘So Serious’, propelled them to be one of the most exciting and sought after acts in the World. This record is trademark Illyus & Barrientos and reflects their personalities as artists perfectly. Think high energy house music filled with fun and peak-time dance floor vibes! Leading the charge on the b-side is an incredible collaboration from 2 heavyweight house artists, working together for the very first time! David Penn has a career spanning over 25 years. He was recently crowned the #1 house artist on Beatport and boasts over 1 million monthly listeners across leading streaming platforms. OFFAIAH appears on Toolroom for the first time in his career under this alias, although he was a firm part of the original Toolroom Family line up as Michael Woods. So this is a SPECIAL ONE! The record screams sun-drenched terraces, pool parties and chilled cocktails! A huge bass line, infectious tribal vocals and some lush house pianos for good measure. Last but not least, Long-standing Toolroom Family member and fan favourite, Ben Remember returns to the label with ‘Waiting 4 You’. As with all of Ben’s records, this is super creative and super original. Based around an infectious disco vocal sample and all created using out-board, analogue studio gear which gives the track a real gritty
undertone.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio